UC-NRLF 


Hess     ; 27b  "a 

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PICTURE  THEATRE 


FACTS 


How  to  Properly  Equip  and  Suc- 
cessfully Operate  a  Motion 
Picture  Theatre 


By 
JAMES  F.  HODOES 


m 


Do  not  overlook  the  following  pages,  for  much 
information  of  value  will  be  found  therein* 


Motion  Picture  Machine 

In  the  Simplex  Projector;  is  found  material,  workman- 
ship, new  and  original  features  and  fireproof  qualities 
heretofore  unheard  of  in  motion  picture  machine  con- 
struction. The  projection  is  perfect.  The  wearing 
qualities  are  way  ahead  of  anything  else  in  its  line. 


Write  us  to-day  for    full  information  and    prices.     Not    how 
cheap  but  how  good  is  our  policy. 

PRECISION    MACHINE   CO. 

317  East  34th  Street,  New  York 


Kindly  mention  this  book  when  writing  advertiser. 


POWER'S  CAMERAGRAPH  No.  6A 

PROCLAIMED   BY  THE   PUBLIC 

The  Modern  Motion  Picture  Machine 

Your  theatre,  to  be  a  success,  must  possess  the  most  modern  and  up-to- 
date  equipments.  Only  the  best  will  bring  you  return  business  and  prosperity. 

Power's  Cameragraph  superiority  has  been  recognized  by  the  public  tor 
fifteen  years.  It  is  installed  in  nearly  all  the  first-class  houses  in  the  world, 
and  has  made  friends  and  kept  them  wherever  civilization  rules.  A  few  of 
Power's  good  points  are: 


ARC   LAMP 

Will  carry  100 
amp.,  take  car- 
bon %"  in  diam- 
eter, 6"  lower, 
12"  upper. 

LAMP  HOUSE 

Larger,  more  ac- 
cessible, door 
each  side  and 
better  venti- 
lated. 

STAND 

Made  entirely  of 
iron.  Lower 
magazine  built 
in  to  carry  14" 
reel. 


PROJECTION 

POWER'S  has 
brought  this  to 
absolute  perfec- 
tion. Pictures 
clear,  steady, 
without  flicker. 


AUTOMATIC 
LOOP  SETTER 

This  device  (cost- 
ing only  $10.00  ad- 
ditional) resets 
the  lower  loop  au- 
tomatically with- 
out stopping,  thus 
doing  away  with 
the  dark  screen 
and  interrupted 
pictures. 


These  points  explain,  in  a  measure,  why  more  Power's  Cameragraphs 
are  sold  than  all  other  machines  combined.  It  will  put  the  S.  R.  O.  out  in 
front  and  keep  it  there. 

Let  us  send  you  Catalogue  P  giving  full  details. 

NICHOLAS  POWER  COMPANY 

90  GOLD   STREET,   NEW  YORK 
For  fifteen  years  the  leading  makers  of  Motion    Picture    Machines. 

Kindly  mention  this  book  when  writing  advertisers. 


Don't  Spoil  the  Reels 

In  establishing  and  maintaining  a  successful  picture  theatre,  too  much 
emphasis  cannot  be  laid  upon  the  projecting  machine.  You  may  have  the 
finest  possible  location  and  the  best  reels  on  the  market,  but  if  your 
machine  does  not  project  steadily  and  clearly,  you  are  bound  to  fail. 
There  must  be  no  nerve-racking  flickers  and  no  long  waits  for  repairs. 
Picture  fans  know  what  kind  of  service  they  are  entitled  to  expect,  and 
if  they  cannot  get  it  at  your  theatre  they  will  get  it  in  some  other. 


The  Edison  Kinetoscope 

UNDERWRITERS'  TYPE  "B" 

Is  the  only  machine  that  will  give  absolutely  satisfactory  service  with 
a  minimum  of   repair  cost.     It  is   the   only   machine   equipped  ivith 

hardened  steel  shafts  and  bear- 
ings throughout.  All  other  parts 
are  made  from  materials  that 
have  been  thoroughly  tested. 
Every  feature  of  the  Edison  is 
the  result  of  long  and  careful 
experimentation.  The  Edison 
combines  simplicity  with  the 
greatest  strength  and  durability, 
and  it  will  stand  the  long,  hard 
daily  grind  as  no  other  machine 
can. 

A  large  percentage  of  Edi- 
son Kinetoscopes  are  sold  to 
exhibitors  who  have  been  dis- 
satisfied with  other  machines. 
If  you  want  the  biggest  profit 
on  your  investment,  start  right 
from  the  very  beginning  by  get- 
ting the  Edison. 


Price,  with  Rheostat,  110  volts,  24-40  amperes     -     $225.00 
Price,  with  110  volt,  60  cycle  Transformer-     -     -     $245.0O 

Write  to-day  for  Catalog  500  and  a  copy  of  the  Edison  Kinetogram 

THOMAS  A.  EDISON,  Inc.,          281  Lakeside  Ave.,  Orange,  N.J. 

Kindly  mention  this  book  when  writing  advertisers. 


J-M  Transite  Asbestos  Wood  Booths 

Approved  by  Fire  Underwriters 

All  types  of  J-M  Transite  Asbestos  Wood  Booths  conform  to  the  require- 
ments of  the  fire  insurance  authorities  and  local  ordinances.     They  have  been 
approved  by  the  inspection  departments  of   many 
states    and    cities    and    by    the    National    Board    of 
Fire  Underwriters.     Composed  of  that  indestructi- 
ble   fibrous    mineral — Asbestos — and     fireproof     ce- 
ments, these  booths  are  absolutely  fireproof.     And 
water  will  not  cause  them  to  warp,  shrink  or  dis- 
integrate. 

J-M  Booths  are  made  in  three  styles:  Portable 
Semi-Portable,  and  Permanent.  We  also  make 
booths  in  special  sizes  or  styles  to  order,  and  can 
deliver  promptly. 

Write  our  nearest  branch  for  J-M  Theatre  Neces- 
sities booklet. 

H.  W.  JOHNS-MAN VI LLE  CO. 

Manufacturers  of  Asbestos  A  *•  n^arW* £  Asbestos  Roofings,  Packings, 

and  Magnesia  Products  ASIISIO^  Electrical  Supplies,  Etc. 


Albany 

Chicago 

Detroit 

Louisville 

New  York 

San  Francisco 

Baltimore 

Cincinnati 

Indianapolis 

Milwaukee 

Omaha 

Seattle 

Boston 

Cleveland 

Kansas  City 

Minneapolis 

Philadelphia 

St.  Louis 

Buffalo 

Dallas 

Los  Angeles 

New  Orleans 

Pittsburgh 

Syracuse 

is  composed  of  the  product  of  the  world's  best  makers,   consisting  of  one, 
two  and  three-reel  subjects,  furnishing  exhibitors  with 

A  FEATURE  PROGRAM  EVERY  DAY 

The  largest  theatres  in  America  are  using  this  film  service,  names  and 
addresses  of  which  will  be  sent  upon  application. 

More  attendance  records  have  been  broken  with  Mutual  Films  than 
with  any  other  program  in  the  world. 

The  releases  are  nicely  balanced,  consisting  of  high  class  dramatic 
productions,  sensational  western  and  historical-military  films  and  comedies. 

Mutual  Exchanges  cover  the  entire  country.  For  the  address  of  the 
nearest  to  you  write  to  the  main  offices  of  the 

MUTUAL   FILM   CORPORATION 

60  Wall  Street,  New  York  City 


Kindly  mention  this  book  when  writing  advertisers. 


Oldest,  Largest  and  most  widely  cir- 
culated Moving  Picture  Weekly 

Founded  by  J.  P.  CHALMERS 


YEARLY  SUBSCRIPTIONS. 
Domestic  $3.00 


17  Madison  Ave.,  New  York  City 


All  the  news  of  every  branch  of  the  film 
manufacturing  and  exhibiting  industry 

The  Representative  Moving  Picture  Paper 


Kindly  mention  this  book  when  writing  advertisers. 


OPENING  AND  OPERATING  A 
MOTION  PICTURE  THEATRE 


HOW  IT  IS  DONE 
SUCCESSFULLY 


F. 

PRICE    $1.00 


SCENARIO  PUBLISHING  COMPANY 

1465  Broadway,  N.  Y. 
Publishers 


Copyright,  1912. 
By  James  F.  Hodges. 


261238 


PREFACE 

To-day  the  Motion  Pictures  present  an  oppor- 
tunity for  money-making  on  a  proportionate  scale 
seldom  encountered  in  legitimate  business.  By 
this  is  meant  that  the  returns  from  the  capital  in- 
vested are  likely  to  be  greater  than  in  almost  any 
known  safe  and  conservative  business.  Of  course 
in  establishing  such  a  business  there  are  pitfalls  to 
be  avoided  and  possibilities  for  bad  judgment  to 
be  exercised  to  a  disadvantage  as  in  any  other  busi- 
ness, but  the  number  of  such  obstacles  seem  to 
be  less  in  the  moving  picture  business  than  in  most 
other  businesses. 

In  this  book  the  writer  will  seek  to  show  how 
many  of  these  errors  may  be  avoided  at  the  out- 
set, thus  minimizing  the  chances  of  business  failure 
as  fas  as  possible. 

This  book  is  written  with  the  view  of  giving  to 
the  novice  in  the  Motion  Picture  Business  infor- 
mation that  will  be  of  service  to  him  in  his  efforts, 
and  which  might  require  much  time  and  labor  on 
his  part  to  obtain. 

It  is  written  not  so  much  to  guide  the  man  in  the 
business  as  it  is  to  guide  him  who  contemplates 
engaging  in  the  business.  In  it  is  contained  much 
information  that  will  open  his  eyes  at  once  to  im- 
portant matters  at  the  beginning,  so  that  he  may 
start  right.  After  he  has  embarked  in  the  busi- 
ness, he  should  be  able  to  paddle  his  own  canoe. 
Herein  is  given  lists  and  prices  of  articles  needed, 
also  lists  of  various  concerns  whose  addresses 
might  be  required. 


The  author  writes  from  personal  experience  in 
every  branch  of  the  Motion  Picture  industry.  In 
addition,  he  has  gathered  much  data  for  his  own 
personal  use,  which  is  contained  herein. 

Only  facts  considered  pertinent  to  the  equipment 
and  operation  of  a  Picture  Theatre  have  been  con- 
sidered in  this  volume.  Any  one  wishing  technical 
information  on  any  point  is  referred  to  the  many 
standard  text-books  and  publications,  among  which 
may  be  mentioned  the  following :  Operators'  Hand 
Book  (Richardson),  published  by  M.  P.  World, 
New  York;  Cyclopedia  of  Motion  Picture  Work 
(Hulfish),  published  by  American  Technical  So- 
ciety, Chicago;  Motion  Pictures,  How  They  Are 
Made  and  Worked  (Talbot),  published  by  Wm. 
Heinemann,  London,  and  the  following  trade 
papers:  The  Motion  Picture  World,  New  York; 
La  Cmematografia,  Turin,  Italy;  La  Vita  Cine- 
matografica,  Turin,  Italy;  Cine- Journal,  Paris; 
Erste  Internationale  Film  Zeitung,  Berlin;  Der 
Kinematograph,  Dusseldorf;  The  Bioscope;  The 
Kinematograph  and  Latern  Weekly. 

The  Motion  Picture  business,  being  primarily  an 
artistic  one,  should  be  governed  with  an  eye  for 
artistic  effect.  The  business  is  now  being  hurt, 
unfortunately,  by  a  lot  of  ignoramuses,  but  these 
will  not  last.  It  is  conceded  by  those  who  are  best 
qualified  to  predict  that  the  passing  of  the  low 
class,  poorly  managed  picture  house  only  awaits 
the  advent  of  more  of  the  clean,  healthy  element 
into  the  business.  The  public  wants  pictures,  and 
at  present  will  patronize  almost  any  kind  of  a 
place,  but  this  tolerance  will  soon  pass,  and  the 
public  will  insist  upon  the  better  type  of  picture 
theatre. 


SOME  STATISTICS. 

There  are  approximately  14,000  picture  thea- 
tres in  the  United  States,  and  these  give  two  shows, 
at  least,  an  evening  and  seat  an  average  of  500 
people  for  the  two  performances;  thus  7,000,000 
people  patronize  the  picture  theatres  and  combi- 
nation picture  and  vaudeville  theatres  each  even- 
ing. Figuring  the  admission  averaging  7^  cents, 
which  is  reasonable,  for  while  the  5c.  houses  are 
in  the  majority,  the  higher  priced  theatres  accom- 
modate larger  audiences,  it  will  be  seen  that  more 
than  $500,000  is  taken  in  nightly. 

This  does  not  take  into  consideration  those 
houses  that  are  open  from  1 1  A.  M.  and  from 
i  P.  M.  on.  This  would  add  considerably  to 
these  figures — probably  50% — or  about  $300,- 
000,000  per  annum. 

More  than  $50,000,000  is  invested  in  the  Mo- 
tion Picture  industry  in  this  country  outside  of  the 
picture  theatres. 

Seventy-five  to  one  hundred  negative  films  are 
made  each  week  and  more  than  3,000  positives,  to 
supply  the  demand  of  the  14,000  picture  houses. 


LOCATION. 

In  entering  into  the  Motion  Picture  exhibition 
business  one  must  use  the  utmost  caution  and  fore- 
sight in  selecting  a  location,  and  also  in  the  matter 
of  rent,  for  those  two  matters  may  make  or  break 
you,  yet  they  are  very  simple  ones. 

It  is  well  also  to  get  a  place  with  a  large  seating 
capacity,  if  possible,  for  while  you  may  not  fill  it 
with  seats  at  the  beginning,  you  are  likely  to  want 
to  increase  your  number  of  seats  later.  Besides, 
plenty  of  room  is  an  asset. 


The  best  place  to  locate  a  Motion  Picture  house 
is,  of  course,  on  a  street  with  plenty  of  traffic,  or 
just  around  the  corner  from  a  busy  thoroughfare. 
Here  good  judgment  and  caution  will  have  to  be 
exercised.  If  the  difference  in  rent  is  large,  the 
place  just  around  the  corner  would  seem  to  be  the 
more  attractive  to  a  beginner  with  a  limited  cap- 
ital. Other  factors  too  numerous  to  mention  may, 
however,  enter  into  the  situation  and  decide  this 
very  important  question  of  location,  but  whatever 
you  do,  locate  on  the  right  side  of  the  street  where 
the  traffic  is.  Your  house  will  not  be  likely  to 
draw  much  traffic,  you  must  let  the  traffic  draw 
you. 

Consider  well  the  question  of  local  competition, 
also  the  kind  of  film  shown  by  your  opposition. 
Should  you  open  a  house  near  another  one,  it  is 
best  to  adopt  different  brands  of  films  from  those 
exhibited  by  your  competitor. 

ESTIMATING  PROBABLE  INCOME. 

If  contemplating  opening  a  theatre  in  a  section 
wherein  already  are  located  one  or  more  theatres, 
it  will  be  comparatively  easy  to  make  a  fairly  ac- 
curate estimate  by  careful  watch  and  counting  the 
number  patronizing  the  other  houses — and  then 
by  comparing  the  traffic  in  the  selected  location 
with  the  traffic  where  the  other  theatres  are 
located. 

Should  you  open  in  the  midst  of  other  theatres, 
yours  must  measure  up  to  those  in  every  respect  if 
you  expect  to  take  a  pro  rata  part  of  the  pat- 
ronage. 

If  you  contemplate  opening  in  a  location  where 
none  has  been  before,  you  can  safely  estimate  your 
patrons  by  counting  the  number  of  persons  who 


pass  other  picture  houses  of  like  character  to  the 
one  you  contemplate  and  see  what  pro  rata  go  in- 
side. Then  count  the  traffic  in  the  locality  you 
are  considering,  and  it  is  reasonably  certain  that 
you  will  draw  a  like  proportion.  Add  to  that  a 
reasonable  percentage  for  some  increased  traffic 
due  to  your  theatre — and  an  extra  patronage  which 
your  house  will  attract  by  reason  of  its  especial 
attractiveness  and  superiority — should  such  be  the 
case. 

In  this  manner  can  be  estimated  the  proper  ex- 
pense that  can  be  afforded  for  establishing  and 
conducting  a  picture  theatre  in  a  given  locality 
that  will  promise  satisfactory  profit.  All  based  on 
the  probable  income. 

MANAGEMENT. 

It  is  a  well-known  fact  in  the  picture  theatre 
business  that  the  question  of  management  may 
decide  the  question  of  success  or  failure.  Where 
one  manager  will  fail  to  so  conduct  his  theatre 
that  the  income  exceeds  the  expense  sufficiently  to 
make  success,  another  manager  will  take  charge 
of  the  theatre,  announcing  "Change  of  Manage- 
ment," and  will  study  the  situation  and  see  where 
the  fault  lies.  If  there's  competition  and  one  thea- 
tre is  not  getting  it's  share  of  the  business  in  that 
particular  section,  the  question  naturally  arises, 
Why? 

It  may  be  location.  It  may  be  lack  of  at- 
tractiveness of  the  front.  It  may  be  the  inferior 
program.  It  may  be  operating  expense.  A  shrewd 
manager  opening  a  new  place  or  taking  over  an 
old  place,  which  perhaps  has  not  been  paying  well, 
will  study  the  situation  thoroughly,  taking  up  point 
by  point. 


If  the  entrance  is  not  inviting  and  cheerful, 
make  it  so.  Make  it  a  gloom  dispeller.  If  the 
program  is  inferior  to  your  competitor's,  improve 
it.  Get  a  better  pianist  or  singer.  Get  a  better 
film  service.  If  the  location  is  bad,  and  a  mis- 
take has  been  made  in  that  respect,  offer  some  spe- 
cial inducement  that  will  especially  appeal  to  the 
class  of  patrons  you  are  catering  to. 

If  all  these  things  appear  to  be  as  they  should 
be  and  yet  your  profit  is  small,  then  look  to  your 
expenses.  By  careful  pruning,  you  should  be  able 
to  overcome  the  difficulty,  unless  the  whole  situa- 
tion is  radically  wrong. 

A  careful  manager  will  occasionally  count  the 
number  of  patrons  for  a  day  and  see  if  there  is  any 
discrepancy  in  the  receipts.  If  so,  a  careful  watch 
will  detect  the  fraud. 

A  ticket  chopper  destroys  the  tickets  as  they 
are  dropped  in  at  the  door,  and  this  is  effective, 
but  not  infallible.  A  fair-sized  theatre  can  always 
afford  a  ticket  chopper,  and  it  is  a  good  investment. 

COMPETITION. 

In  considering  competition  no  point  must  be 
overlooked — no  matter  how  small — for  collectively 
the  small  matters  will  determine  the  "quality"  of 
your  theatre.  Compare  the  following  points  with 
the  competing  theatre  and  when  you  have  noted 
the  difference,  decide  for  yourself  whether  it  is 
necessary  to  make  a  change  in  order  to  attract 
your  share  of  the  business. 

Program. 

Film  service. 

Singer. 

Song  and  slide  service. 

Music. 

10 


Projection  and  operator. 
Attractiveness  of  front. 
Front  illumination. 
Interior  illumination. 
Interior  decorations. 
Comfort  of  seats. 

Aisles  (whether  crowded  or  roomy). 
Poster  service. 
Ventilation. 
Front  decorations. 

Ticket  seller,  courtesy  and  appearance. 
Vaudeville  acts. 

Whether  patrons  are  pleased  or  displeased  with 
the  entertainment  given. 
Cleanliness. 
Toilet  facilities. 


AUDIENCES. 

A  manager  will  gain  a  pretty  fair  knowledge  of 
the  effect  of  his  program  upon  his  business  by 
watching  the  audience  as  it  passes  out.  It  will  not 
be  necessary  to  ask  the  patrons  what  they  approve 
and  what  they  disapprove — watch  and  listen. 
Comments  will  be  overheard.  The  patron's  atti- 
tude also  will  be  a  barometer  that  will  tell  the 
manager  whether  a  particular  film  or  class  of  films 
pleases  or  displeases.  Some  classes  of  audiences 
will  be  pleased  with  certain  classes  of  films — while 
other  classes  of  audiences  will  be  displeased  with 
the  same  films. 

The  manager  must  learn  the  taste  of  his  patrons 
in  this  respect. 

If  a  manager  cannot  influence  his  exchange  to 
supply  just  the  kind  of  films  he  requires,  then  it 
may  be  possible  to  obtain  the  desired  result  by 
studying  the  character  of  films  released  by  differ- 

11 


ent  manufacturers  and  then  call  for  the  product  of 
this  manufacturer  and  that  manufacturer,  selecting 
the  style  and  class  that  appeals  to  your  particular 
audience  most. 

If  the  film  service  is  to  satisfy  the  manager,  it 
has  to  be  watched  constantly  by  the  manager,  oth- 
erwise the  exchange  will  deliver  what  is  to  them 
most  desirable,  and  this  may  not  be  what  the  audi- 
ence likes  at  all. 

The  manager  should  note  the  responsiveness  of 
his  patrons  in  the  theatre  as  well  as  the  attitude 
and  comments  of  patrons  leaving  the  theatre.  It 
may  be  a  specific  picture  that  pleases  most — or  it 
may  be  a  class  of  picture  that  always  pleases. 
When  these  signs  are  noted  the  manager  should 
be  quick  to  take  advantage  of  the  points  learned. 

In  this  way  it  can  be  ascertained  if  it  is  desirable 
and  profitable  to  include  songs  or  vaudeville  in 
your  program.  Watch  the  effect. 

WAITING  AUDIENCES. 

When  your  houses  are  running  full  and  patrons 
are  waiting  to  enter,  it  is  necessary  to  run  off  a  per- 
formance as  speedily  as  possible  and  empty  the 
house  as  much  as  possible  to  make  room  for  those 
waiting.  No  time,  therefore,  should  be  wasted, 
as  the  number  of  tickets  sold  depends  upon  the 
despatch  with  which  you  can  get  patrons  in  and  out 
again;  but  do  not,  under  any  circumstances,  cut 
the  performance  to  do  this,  except  when  you  have 
a  special  feature  program  which  is  advertised  as 
such  exclusively. 


12 


Attractive   Theatre  Front. 


FILM    SERVICE. 

Here  we  get  into  the  meat  of  the  Motion  Pic- 
ture business.  It  will  be  necessary  to  enter  into 
an  explanation  of  the  methods  of  the  film  supply 
business  in  order  that  you  may  intelligently  un- 
derstand the  very  important  matter  of  films. 

Films  are  rented  from  a  "film  exchange"  at  so 
much  per  week.  The  films  supplied  the  exhibitor 
are  termed  ufilm  service."  This  service  may  con- 
sist of  3,  4  or  5  films  each  day,  changed  daily,  or 
3,  4  or  5  films  changed  every  other  day,  or  twice 
a  week. 

A  film  service  will  consist  therefore  of,  let  us 
say,  3  reels  of  film  per  day.  Now  there  are  many 
different  classes  of  film  service,  governed  by  the 
age  or  newness  of  the  film.  Naturally  a  high  class 
theatre  will  require  a  higher  class  service  than  an 
ordinary  house  or  a  cheap  house.  It  will  be  borne 
in  mind  that  the  exchange  rents  out  a  given  film 
many  times.  The  same  film  may  be  exhibited  in 
26  different  houses  in  one  month.  Naturally  the 
house  getting  it  first  will  pay  a  larger  price  than 
the  house  getting  it  the  25th  or  5Oth  time.  In 
this  way  are  the  prices  of  services  regulated.  A 
film  being  exhibited  for  the  first  time  is  called 
"first  run"  film.  When  exhibited  for  the  second 
time  it  is  known  as  "second  run"  film,  and  so  on 
until  the  5th  or  6th  run.  After  that  a  record  is 
not  generally  kept  of  the  run  of  a  film. 

The  dates  of  the  first  appearance  of  all  films  are 
termed  "release  dates."  These  dates  are  pub- 
lished each  week  in  the  Motion  Picture  trade 
papers,  of  which  there  are  three — the  Moving 
Picture  World,  New  York,  $3.00  per  year;  the 
Moving  Picture  News,  New  York,  $2.00  per  year, 
and  Motography,  Chicago,  $2.00  per  year.  It  will 

13 


be  an  excellent  investment  for  the  Motion  Picture 
theatre  man  to  subscribe  for  these  journals,  as  they 
contain  practically  all  the  current  Motion  Picture 
news  and  also  a  large  store  of  valuable  .practical 
information.  By  consulting  these  papers  the  the- 
atre man  can  keep  himself  informed  as  to  the  age 
of  any  film.  You  can  also  get  a  lot  of  informa- 
tion regarding  films  direct  from  the  manufacturers 
by  requesting  them  to  place  your  name  and  ad- 
dress on  their  mailing  lists. 

A  film  service 'is  generally  made  up  of  films  of 
different  ages.  One  film  may  be  a  week  old,  the 
next  may  be  three  weeks  old  and  the  third  may  be 
three  months  old.  The  price  you  pay  for  service 
will  determine  what  service  you  get. 

A  weekly  service  of  all  first  run  pictures  (which 
is  rarely  used  by  any  but  the  largest  first  class 
places)  will  cost  in  the  neighborhood  of  $300.00 
to  $400.00  per  week. 

A  service  of  one  first  film  and  two  others  of 
varying  ages  may  cost  $75.00  to  $150.00,  accord- 
ing to  the  age  of  the  other  two  films. 

A  service  of  three  films  that  are  three  or  four 
months  old  may  cost  $20.00  or  $25.00.  It  is 
possible  to  get  a  film  service  for  even  less  than 
this,  but  it  would  probably  do  more  harm  than 
good. 

The  average  price  paid  for  film  service,  how- 
ever, is  about  $40.00  to  $50.00  per  week.  This 
will  procure  three  films  each  day  of  varying  ages,  on 
different  days,  but  all  fairly  new.  The  average  will 
be  fairly  good  at  this  price,  for  a  small  house. 

This  is  where  it  will  benefit  you  to  have  the 
trade  magazines,  for  you  can  keep  track  of  the 
age  of  your  films  by  referring  to  back  issues,  which 
you  should  keep  on  file. 

If  your  receipts  are  not  large  enough  to  justify 

14 


a  large  price  for  service,  you  should  learn  where 
you  can  get  the  best  for  your  money,  but  before 
changing  your  exchange,  give  him  a  chance  to  do 
his  best  for  you,  for  the  other  fellow  may  only  do 
better  for  a  while. 

For  $60.00  you  will  be  able  to  get  a  very  good 
service,  and  for  $75.00  you  will  get  a  service  that 
will  do  for  a  first  class  theatre. 

There  are  two  classes  of  films  to  choose  from — 
those  made  by  the  association  manufacturers  and 
those  made  by  the  independent  manufacturers. 
The  former  includes:  Biograph,  Cines,  Edison, 
Essanay,  Lubin,  Melies,  Pathe,  Kalem,  Selig, 
Eclipse  and  Vitagraph.  The  latter  includes :  Am- 
brosia, American,  101  Bison,  Champion,  Comet, 
Eclair,  Great  Northern,  Kay-Bee,  Keystone,  Bron- 
cho, Gaumont,  Gem,  Imp,  Itala,  Lux,  Nestor, 
Powers,  Reliance,  Republic,  Rex,  Solax,  Than- 
houser,  Majestic,  Milano,  Shamrock  and  Victor. 

The  films  of  the  former  are  handled  exclusively 
by  the  General  Film  Exchanges,  and  the  films  of 
the  latter  are  handled  exclusively  by  the  independ- 
ent exchanges,  addresses  and  advertisements  of 
which  are  to  be  found  elsewhere  in  this  book. 

An  exhibitor  must  choose  between  the  two,  as 
your  exchange  will  handle  exclusively  the  output 
of  one  or  the  other.  They  will  be  all  association 
films  or  all  independent  films.  An  exhibitor  may 
try  one  kind  and  if  dissatisfied  may  change  to  the 
other,  but  it  should  be  remembered  that  the  patron 
usually  comes  to  like  certain  brands  of  films,  and 
it  is  for  the  exhibitor  to  find  out  which  seem  to 
please  most,  then  stick  to  those  as  long  as  his 
business  prospers. 

Right  here  you  are  going  to  be  let  into  a  secret, 
the  remembering  of  which  may  mean  a  saving  of 
money  to  you.  A  favorite  trick  of  some  of  the 

16 


film  exchanges  is  to  boost  the  price  of  your  service 
and  the  price  of  your  competitor's  service  by  play- 
ing each  of  you  against  the  other,  and  persuading 
you  both — one  at  a  time — to  adopt  a  little  better 
service  from  time  to  time,  to  outdo  the  other. 
It  will  be  wise  to  watch  this  closely  and  be  on  the 
alert  to  checkmate  any  such  attempt  on  the  part 
of  your  exchange  man,  by  having  a  friendly  talk 
with  your  competitor,  otherwise  you  are  both  likely 
to  pass  much  of  your  profits  over  to  your  exchange 
unnecessarily  in  the  form  of  a  higher  price  for 
service  than  your  receipts  will  justify. 

FEATURE  FILMS. 

Many  of  the  more  advanced  picture  theatres  to- 
day show  what  is  known  as  a  feature  film  produc- 
tion. This  differs  from  the  ordinary  film  in  that 
it  will  run  from  2,000  to  5,000  feet. 

A  feature  film  to  a  picture  theatre  is  what  an 
all-star  theatrical  production  is  to  a  regular  theatre. 
It  can  be  likened  to  the  "star"  act  on  a  vaudeville 
bill.  Some  houses  have  a  special  feature  film 
day — or  a  feature  film  week. 

These  films  can  be  obtained  through  special- 
feature  film  companies  or  some  can  be  obtained 
through  the  regular  source  of  film  exchanges. 

Among  the  prominent  feature  films  may  be  men- 
tioned the  "Sarah  Bernhardt"  film  produced  and 
handled  by  the  Famous  Players  Film  Company. 
Other  prominent  companies  producing  and  dis- 
tributing feature  films  are  Warner's  Feature  Film 
Company  and  Union  Feature  French-American 
Film  Company.  Their  offices  are  located  in  all 
principal  cities. 

There  appears  to  be  a  growing  tendency  on  the 
part  of  the  manufacturers  and  exhibitors  in  Con- 
tinental Europe  to  favor  the  feature  film  in  mo- 

16 


Attractive   Theatre   Front. 


tography.  The  extended  run  of  feature  picture 
plays  or  special  film  features  are  to  the  liking  of 
the  amusement  seeking  public. 

The  Europeans  were  the  pioneers  in  providing 
this  form  of  Motion  Picture  entertainment.  The 
time  will  arrive  in  this  country  when  the  feature 
film  will  predominate  in  every  big  city  in  the  land. 
Instead  of  having  a  varied  programme  from  day 
to  day,  the  exhibitors  of  America  soon  will  follow 
the  example  set  by  their  European  brethren  and 
will  strive  to  elevate  the  industry  and  the  enter- 
tainment end  of  the  business  by  having  recourse 
to  films  that  will  hold  the  attention  of  an  audience 
during  the  course  of  an  evening.  This  appears 
to  be  a  much  better  system  than  the  present  now 
in  vogue.  As  the  matter  stands  at  present,  people 
drift  in  and  drift  out  and  carry  away  no  decided 
impression  of  what  they  have  seen.  The  feature 
film,  on  the  contrary,  makes  an  impression  and 
causes  the  Motion  Picture  patrons  to  leave  the 
theatre  with  an  impression  and  a  desire  to  impart 
to  their  neighbors  and  friends  the  fact  that  an 
excellent  show  is  being  presented  at  a  certain  thea- 
tre. 

The  mere  fact  that  this  particular  feature  film 
is  being  shown  for  an  indefinite  period  will  cause 
others  to  verify  the  judgment  of  those  who  recom- 
mend the  exhibition  in  the  first  place.  One  may 
readily  imagine  the  uplifting  result  of  these  long 
runs.  In  75  per  cent,  of  the  motion  picture  thea- 
tres of  Continental  Europe  special  features  are 
run  from  six  to  eight  days.  As  there  is  a  suf- 
ficient supply  of  features  to  keep  the  exhibitors 
supplied  the  number  of  special  reels  supplied  by 
the  manufacturers  is  sufficient  to  keep  the  theatres 
provided  with  entertainment. 

In  short,  the  feature  film  is  destined  to  take 

17 


the  place  of  the  ordinary  one-reel  film,  and  this 
will  have  the  effect  of  raising  the  standard  of  the 
films  now  being  manufactured. 

POSTERS. 

This  is  a  much  abused  part  of  the  picture  thea- 
tre. Some  houses  overdo  it  by  displaying  too 
many  and  too  glaring  posters.  Others  display  too 
few. 

Judgment  should  be  exercised  in  this  matter. 
The  lobby  should  not  be  filled  with  posters.  For 
a  high  class  theatre  only  two  or  three  are  re- 
quired, and  those  should  be  inclosed  in  neat  easel 
frames.  Usually  brass  frames  with  glass  fronts 
are  used  in  the  better  places.  A  good  poster  serv- 
ice will  cost  about  $5.00  per  month.  The  film 
exchange  generally  supplies  this  service,  but  in  the 
larger  cities  are  to  be  found  concerns  that  supply 
posters  exclusively.  A  rebate  of  5  cents  is  gener- 
ally allowed  for  the  return  of  posters. 

Banners  make  an  attractive  display  for  any  spe- 
cial event. 

HELP  AND  SALARIES. 

To  conduct  a  Motion  Picture  show  requires  the 
following  force: 

Machine  operator,  $15  to  $24  per  week. 
Pianist,  $12  to  $20  per  week. 
Ticket  seller,  $6  to  $8  per  week. 
Ticket  taker,  $8  to  $10  per  week. 
Porter,  $7  to  $10  per  week. 
Manager  (probably  yourself). 
To  this  list  may  be  added,  if  required : 
Singer,  $12  to  $25  per  week. 
Violinist,  $10  to  $20  per  week. 
Drummer,  $12  to  $15  per  week. 
Usher,  $3  to  $8  per  week. 

18 


EXPENSES,  RECORDS,  RECEIPTS. 

A  special  sheet  should  be  printed  to  use  daily, 
or  better,  weekly,  for  the  purpose  of  keeping  track 
of  all  business  transactions,  receipts,  expenditures, 
films  used,  songs  used,  etc.  By  referring  to  these 
slips,  which  should  be  kept  in  a  loose  leaf  binder, 
a  manager  can  tell  instantly  whether  a  given  song 
or  a  film  has  been  used  before,  also  all  matters  of 
expense  and  receipts  are  readily  accessible. 

It  is  a  good  plan  to  mark  the  films  that  gave 
special  satisfaction,  and  in  this  way  easily  trace 
the  kind  that  pleases  your  audiences  best. 

Both  daily  and  weekly  records  should  be  kept  of 
all  matters  relative  to  the  business. 


INCREASE  OF  ADMISSION  PRICES. 

If  the  prices  are  increased  Saturdays  and  Sun- 
days, a  better  program  should  be  given,  otherwise 
there  is  no  excuse  for  such  increase. 

This  should  be  advertised. 


CHECKING    RECEIPTS. 

All  tickets  are  numbered  and  the  ticket  seller 
accounts  for  the  number  that  is  shown  to  have 
been  disposed  of  by  subtracting  the  number  of  the 
first  one  from  the  last  one.  Suppose  at  the  closing 
your  lowest  number  was  2251,  this  number  will 
of  course  be  the  first  one  sold  at  the  opening  next 
day;  then  suppose  at  the  closing  next  night  the 
lowest  number  remaining  is  2951,  the  number  sold 
then  is  700.  If  two  prices  prevail,  the  system  is 
the  same  for  both. 

Different  colors  of  tickets  should  be  used  on 
different  days  and  care  should  be  taken  to  see  that 

19 


all  tickets  used  are  destroyed,  otherwise  fraud  is 
likely  to  follow. 

Tickets  cost  i5c.  to  2oc.  per  M. 

MUSIC. 

It  is  well  to  have  an  automatic  piano — in  case 
the  pianist  fails  to  appear — and  also  to  shorten 
the  pianist's  hours.  The  automatic  being  used  at 
the  beginning  and  ending  of  the  performance. 

SONG    SLIDES. 

Slide  service  is  2$c.  to  $1.00  per  week. 

A  careful  manager  will  always  keep  on  hand  a 
few  "cover  glasses"  for  emergency  slide  purposes, 
such  as  quick  announcements,  etc.,  etc.  Besides 
having  a  supply  of  crow  quill  pens  and  waterproof 
ink,  he  should  have  on  hand  some  tracing  paper 
or  tracing  linen  and  binding  strips  such  as  are  used 
by  slide  makers.  You  can  write  upon  the  tracing 
cloth  or  paper  with  an  ordinary  pen  and  cut  it  to 
the  size  of  the  slide  cover  trimmed  a  trifle  smaller. 
In  this  way  an  announcement  may  be  made  in  one 
minute.  If  a  typewriter  is  used  to  write  the  an- 
nouncement on  the  tracing  paper,  use  a  carbon 
back  of  the  paper  so  that  the  letters  will  be  im- 
printed on  both  sides.  This  will  give  density  to 
the  lettering. 

SIDE  LINE  REVENUE. 

Advertising  on  drop  curtain. 
Advertising  slides. 
Candy  (announced  by  slides) . 
Music  at  ticket  window. 

20 


LAWS. 

A  prospective  manager  must  investigate  and  fa- 
miliarize himself  with  all  city  and  state  laws  and 
ordinances  regulating  the  Motion  Picture  theatres. 


CONVERTING  A  STORE  INTO  A  M.   P. 
THEATRE  AT  SMALL  EXPENSE. 

After  finally  selecting  the  location  that  appears 
to  offer  the  best  possibilities  and  after  having  an 
inspection  made  by  the  building  department  and 
the  fire  department,  and  having  attended  to  such 
matters  as  license,  etc.,  etc.,  the  process  will 
simply  be:  Obtain  a  design  for  the  front  and  re- 
move the  entire  old  front  and  insert  the  new  one, 
according  to  design  and  specifications. 

An  ordinary  large  store  with  high  ceiling,  pro- 
vided it  can  be  made  to  conform  to  the  building 
and  fire  laws  as  regards  exits,  etc.,  can  be  turned 
into  a  first-class  Motion  Picture  house  at  a  reason- 
able cost.  You  should  have  a  building  inspector 
pass  upon  the  seating  capacity. 

It  is  absolutely  essential,  after  deciding  upon 
your  location,  to  have  plans  of  alterations  sub- 
mitted to  the  bureau  of  buildings,  which  will  in- 
spect the  premises  and  pass  upon  seating  capacity, 
material  construction,  etc.  It  is  also  wise  when 
the  purchase  of  an  established  Motion  Picture 
business  is  contemplated  to  have  a  thorough  inspec- 
tion made  by  both  building  and  fire  departments  to 
insure  a  permanent  license. 

A  ticket  booth  is  built  facing  the  sidewalk  or 
one  side  entrance,  and  exit  doors  are  built  in  to 
suit.  The  operator's  booth  is  installed  inside, 
above  the  ticket  window,  or  according  to  other 
specification.  Sometimes  this  booth  partly  pro- 

21 


jects  outside  through  the  partition.  A  slanting 
floor  is  installed  if  possible,  the  walls  are  deco- 
rated, lights  and  mirroring  installed,  a  screen  lo- 
cated at  the  rear  of  the  hall  to  conform  to  the  size 
of  the  projected  picture  (which  is  determined  by 
the  distance,  usually,  different  styles  of  lenses  be- 
ing made  to  accommodate  this) ,  chairs  are  installed 
to  the  number  permitted  by  building  inspector  and 
the  license.  When  this  is  all  done,  you  are  ready 
to  put  out  posters  and  open  the  doors  for  business. 

The  "front11  is  simply  carpenter  and  painter 
work — total  minimum  cost,  $600. 

An  Elaborate  Theatre. — This  cannot  be  covered 
here  because  to  build  and  equip  a  pretentious  thea- 
tre will  require  special  care  and  the  assistance  of 
architects,  contractors,  electricians,  etc.,  to  submit 
plans,  estimates,  etc. 

An  elaborate  store  front  theatre  can  be  con- 
verted in  a  very  pretentious  and  attractive  manner 
for  an  expenditure  of  from  $2,000  to  $5,000. 

In  this  case  the  services  of  special  theatre  deco- 
rators and  designers  should  be  secured.  Plans  and 
specifications  can  be  obtained  at  a  moderate  cost. 

FRONT. 

The  matter  of  "front"  is  a  very  important  one. 
By  all  means  the  entrance  must  be  inviting  and  at- 
tractive, eliminating  the  hideous  "gingerbread" 
appearance  that  is  so  prevalent  among  the  cheaper 
theatres.  Usually  the  entire  front  is  taken  out 
and  a  new  one  put  in,  allowing  about  10  or  15  feet 
for  an  arcade,  or  lobby,  wherein  is  located  the 
ticket  booth  and  also  wherein  is  placed  a  couple  or 
more  of  easel  frames  to  hold  the  "posters"  which 
advertise  the  films  that  are  being  shown  or  that 
are  to  come.  Care  should  be  exercised  not  to 


crowd  the  lobby.  This  front  may  be  installed  at 
a  cost  of  $250  or  $300  up  to  $2,000  or  $3,000, 
according  to  the  elaborateness  of  the  house. 

A  good  suggestion  for  the  arcade  is  to  panel 
the  walls  and  use  green  baize  covering.  This  keeps 
a  clean  appearance,  and  also  will  afford  an  easy 
means  for  pinning  announcements  on,  etc. 

SLOPING  FLOORS. 

A  good  result  is  obtained  by  sloping  i  foot  in  8 
or  10  feet.  The  floor  can  be  even  at  the  entrance 
with  the  sidewalk  and  lower  than  the  sidewalk  at 
the  screen  end  of  the  hall,  or  may  be  raised  at  the 
entrance,  in  which  case  steps  will  have  to  be  built 
in,  or  sloping  approaches  made,  extending  from 
sidewalk  well  inside  of  the  entrance  and  exit  doors. 
Chairs  when  ordered  must  conform  to  the  slope 
unless  the  slope  takes  the  form  of  steps;  in  this 
case  each  row  of  chairs  will  stand  upon  a  level 
section  of  the  floor. 

STAGE. 

If  a  stage  is  required,  it  should  be  built  at  least 
3  feet  higher  than  the  floor  directly  below,  and  the 
proscenium  arch  may  be  designed  to  conform  to 
the  height  and  width  of  the  hall.  However,  a 
margin  of  at  least  one  foot  at  the  top  and  three 
feet  at  the  sides  must  be  allowed. 

The  stage  should  be  at  least  10  or  12  feet  deep. 

FRONT   LIGHTS. 

Two  flaming  arcs  are  the  best  for  illuminating 
the  front  and  are  connected  in  series.  These  of 
course  are  extended  out  over  the  sidewalk.  An 
electric  sign  reading  "Motion  Pictures/'  "Photo- 

23 


play,"  "Picture  House,"  etc.,  may  also  be  used  to 
advantage,  if  desired.  The  arcade  is  of  course 
studded  with  small  incandescent  lamps,  4  or  8 
candle  power  being  sufficient.  The  flaming  arcs 
will  cost  $50  to  $85  each.  A  sign  will  cost  any- 
where from  $75  to  $300.  Generally  4  candle 
power  lamps  are  used  in  the  sign.  Tungsten  lamps 
are  preferable  on  account  of  brilliancy  and  the  sav- 
ing of  current. 

INTERIOR    LIGHTS. 

It  is  very  necessary  to  success  to  have  the  inte- 
rior of  your  house  fairly  well  lighted.  The  busi- 
ness that  a  poorly  lighted  house  will  attract  is  not 
the  kind  that  you  can  build  successfully  upon.  At 
each  exit  a  red  light  is  placed,  or  a  red  sign  read- 
ing "Exit."  This  is  determined  by  the  fire  law. 

Enough  8  or  1 6  c.  p.  plain  incandescent  lamps 
alternated  with  green  or  ruby  lamps  should  be 
placed  throughout  the  house  to  furnish  sufficient 
light.  The  plain  incandescent  lamps  that  are  al- 
lowed to  remain  turned  on  while  the  pictures  are 
being  shown  should  be  fitted  with  deep  green  con- 
ical hoods,  or  shades,  to  prevent  the  light  from 
shining  direct  into  your  patrons'  eyes.  You  will 
find  that  light  will  tend  to  eliminate  disturbances 
and  will  also  furnish  added  interest  to  your 
patrons. 

Current  can  be  saved  by  proper  installation  of 
low  voltage  lamps  for  both  interior  and  exterior 
use. 

In  throwing  on  and  off  your  interior  lights  dur- 
ing intermission,  care  should  be  exercised  not  to 
throw  on  all  the  lights  at  once,  as  the  conversion 
from  darkness  to  brilliancy,  if  effected  instantly,  is 
very  injurious  to  the  eyesight.  It  is  best  to  turn 

24 


on  a  few  lights  first,  and  a  few  seconds  later  throw 
on  all.  The  switch  should  be  installed  to  control 
this. 

CHAIR  EQUIPMENT. 

For  a  small  place  299  chairs  are  generally  in- 
stalled. This  is  because  in  most  states  the  license 
for  houses  containing  less  than  300  seats  is  much 
lower  than  for  houses  containing  over  300  seats. 
Chairs  with  folding  bottoms  are  best  and  cost  from 
$1.00  each  up  to  $3.50.  It  is  sometimes  possible 
to  purchase  second-hand  chairs  that  are  entirely 
satisfactory  for  much  less  than  the  original  cost, 
but  when  such  a  purchase  is  contemplated  the 
chairs  should  be  seen  and  examined. 

Seats  should  never  be  located  nearer  than  eight 
feet  to  the  screen. 


PROJECTING  EQUIPMENT. 

MACHINE. 

Your  projecting  apparatus  should  be  installed 
in  duplicate — to  obtain  the  best  service — as  it  pro- 
vides a  reserve  apparatus  in  case  of  accident,  and 
also  permits  of  alternate  use  so  that  your  machine 
does  not  become  overheated. 

For  lubricating,  light  dynamo  oil  is  the  best. 
Keep  away  from  the  light,  thin  oil. 

Mutton  tallow  or  beeswax  are  both  good  to  use 
on  the  gearing,  with  or  without  graphite. 

Clean  the  intermediate  sprockets  well  every  day 
with  a  toothbrush. 

There  are  several  good  makes  of  projecting 
machines  on  the  market.  The  five  most  gener- 
ally in  use  are:  Powers,  Edison,  Standard,  Sim- 
plex, Motiograph. 

25 


These  machines  are  all  tried  and  proved. 
Prices  range  from  $185  to  $275  complete.  Pho- 
tographs of  these  machines  are  shown  herein. 

CURRENT  CONVERTERS,  ETC. 

Probably  one  of  the  most  difficult  problems  that 
those  concerned  in  the  Motion  Picture  business 
have  to  solve  is  that  of  the  quality,  quantity  and 
cost  of  the  machine's  light.  This  not  only  deter- 
mines the  amount  of  one  of  their  large  necessary 
expenses,  but  also  to  a  great  extent  influences  the 
popularity  of  their  show.  The  crowd  will  not  con- 
tinue to  patronize  a  theatre,  no  matter  how  swell 
the  "front"  or  elaborate  the  fixtures,  if  they  do  not 
see  good  pictures.  And  since  the  quality  of  the 
picture  depends  upon  the  light  as  much,  if  not 
more,  than  upon  the  film  itself,  the  securing  of  a 
perfect  light  at  a  minimum  cost  is  a  problem  that 
has  bothered  both  operator  and  manager. 

Motion  Picture  lamps  require  only  about  35  to 
60  volts  at  the  arc,  while  most  commercial  lighting 
circuits  supply  a  voltage  of  either  1 10  or  220  volts. 
Some  device  must  of  necessity,  therefore,  be  used 
between  the  line  and  the  lamp  to  take  care  of  this 
difference  in  voltage.  Formerly  iron-wire  or  grid 
resistance  rheostats  were  used.  Their  use,  how- 
ever, resulted  in  an  actual  waste  of  all  the  energy 
supplied  from  the  line  over  and  above  that  actually 
required  by  the  lamp.  They  also  generated  so 
much  heat  that  they  not  only  made  the  operating 
room  like  an  oven,  but  were  liable  to  set  fire  to 
the  films  or  other  inflammable  material. 

For  the  sake  of  safety  and  economy,  therefore, 
many  experiments  were  made  with  devices  that 
would  reduce  the  current  without  needless  waste 
or  generation  of  heat.  There  are  a  number  of  de- 

26 


vices  now  on  the  market  whose  manufacturers 
claim  will  accomplish  these  results.  Some  of  these 
are  described. 

THE  COMPENSARC. 

There  are  two  kinds  of  Compensarcs — one  for 
alternating  current  only  and  one  for  direct  current 
only.  They  are  entirely  different  in  construction 
and  operation,  but  their  purpose  is  identical  and 
they  produce  practically  the  same  results. 

COMPENSARC     FOR    CHANGING    ALTERNATING 
CURRENT  TO  DIRECT  CURRENT. 

The  central  stations  and  lighting  companies  are 
gradually  changing  their  direct  current  circuits  to 
alternating  current.  The  AC  to  DC  compensarc 
was  designed  in  order  to  supply  the  demands  of 
the  Motion  Picture  theatres  with  a  device  to  op- 
crate  on  alternating  current  and  supply  direct  cur- 
rent for  the  motion  pictures.  This  machine  con- 
sists of  an  especially  designed  generator  and  mo- 
tor mounted  on  a  cast  iron  sub-base,  and  is  ar- 
ranged to  operate  on  an  alternating  current  circuit 
and  supply  direct  current  to  the  Motion  Picture 
machine.  The  outfit  is  constructed  for  use  on  115- 
220  or  440  volt,  single-phase,  two-phase  or  three- 
phase  circuits. 

The  generator  is  equipped  with  a  special  wind- 
ing so  as  to  generate  approximately  75  to  85  volts, 
and  operate  in  conjunction  with  a  resistance  for 
use  when  the  arc  lamp  is  operating  at  50  to  55 
volts  and  35  amperes.  This  outfit  is  designed  to 
operate  at  approximately  1750  RPM,  and  is  fur- 
nished complete  ready  for  operation. 

THE  D.  C.  COMPENSARC. 
This  machine  is  designed  to  be  used  on  115,  230 

27 


or  500  volt  direct  current  lines.  It  is  a  two-bear- 
ing machine,  having  two  separate  magnet  frames 
complete  with  field  windings,  and  two  separate 
armatures  mounted  on  a  common  shaft. 

This  machine  is  in  reality  a  direct  current  com- 
pensator, that  is  the  output  of  the  set  equals  the 
full  capacity  of  both  machines  less  the  losses.  The 
electrical  connections  are  similar  to  those  em- 
ployed in  a  direct  current  balancer  set. 

The  frames  are  equipped  with  special  windings 
so  as  to  give  a  volt  ampere  characteristic  curve, 
such  as  the  current  at  the  arc  reduces,  the  voltage 
will  rise,  maintaining  stable  arc  conditions.  This 
result  is  accomplished  without  wasteful  lamp 
steading  resistance. 

The  generator  shunt  has  in  circuit  a  small  closed 
circuit  field  rheostat.  This  field  rheostat  can  be 
adjusted  to  give  different  current  at  the  arc  ranging 
from  approximately  25  to  45  amperes;  the  normal 
full  load  rating  of  the  set  being  35  amperes  55 
volts.  The  motor  end  has  three  terminals  which 
in  installing  are  treated  the  same  as  the  ordinary 
three  connections  from  a  standard  shunt  wound 
motor;  the  middle  lead  being  the  lead  from  the 
field  coils,  the  two  outside  leads  being  the  main 
line  leads.  The  generator  end  has  two  main  line 
leads  for  connecting  direct  to  arc  lamp.  In  addi- 
tion to  this,  two  smaller  leads  from  the  inner 
bushings  are  connected  direct  to  a  closed  circuit 
rheostat  used  as  above  stated  for  adjusting  the 
current  of  the  arc  lamp. 

This  rheostat  is  intended  to  be  installed  near 
the  operator  so  the  current  can  be  adjusted  from 
time  to  time  for  heavy  or  light  films,  etc. 

The  set  is  so  arranged  that  the  mains  cannot  be 
short  circuited  by  putting  the  carbons  together  and 
holding  them  there,  in  fact,  this  serves  to  reduce 

28 


An  Unusual  Front  Display — On  a  Crowded  Thoroughfare. 
(Good  or  Bad?) 


the  amount  of  energy  delivered  to  the  motor  below 
the  normal  full  load  energy. 

In  the  case  of  the  230  volt  D.C.  Compensarc 
the  amount  of  energy  taken  from  the  line  normally 
will  be  approximately  2600  watts,  as  compared 
with  the  use  of  the  rheostat,  which  consumes 
8050  watts.  This  equals  a  saving  of  67.7%  in 
the  cost  of  power. 

Some  of  the  special  advantages  of  the  D.C. 
Compensarc  over  the  use  of  the  rheostat : 

1.  It  saves  in  the  cost  of  power  from  65  to  70% 
on  230  volt  circuits  and  30  to  35%  on  TI5  volt 
circuits. 

2.  The  operation  is  very  cool  and  danger  from 
fire  eliminated. 

3.  The  current  at  the  arc  can  be  easily  increased 
or  decreased  by  means  of  a  small  adjustable  rheo- 
stat which  can  be  installed  within  reach  of  the  op- 
erator, giving  the  operator  a  means  for  varying 
the  light  to  properly  meet  the  requirements  of  the 
different  qualities  of  films,  whether  dark  or  light, 
etc. 

Each  set  will  require  a  2  H.P.  no  voltage  re- 
lease motor  starter  and  a  closed  circuit  field 
rheostat. 

RECTIFIERS  FOR  MOTION  PICTURE  MACHINES. 

The  General  Electric  Company  has  recently  de- 
veloped a  special  design  of  mercury  arc  rectifier 
for  motion  picture  machine  arc  lamps. 

Every  motion  picture  operator  or  theatre  man- 
ager knows  that  direct  current  is  far  better  than 
alternating  for  operating  motion  picture  lamps, 
because  it  delivers  a  clearer,  whiter  and  steadier 
light  on  the  screen  with  a  minimum  number  of 
amperes  in  the  arc.  Even  though  direct  current 
may  be  available  from  the  lighting  company's 

29 


mains,  the  use  of  a  rheostat  or  resistance  in  order 
to  get  proper  regulation  of  current  in  the  arc 
means  that  there  is  a  large  waste  of  energy ;  in  fact, 
about  60  per  cent,  in  the  rheostat.  While  alter- 
nating current  requires  a  large  number  of  am- 
peres to  secure  even  a  reasonably  good  light,  it  is 
possible  to  regulate  the  current  by  means  of  trans- 
formers or  choke  coils  so  that  the  energy  wasted 
is  reduced  to  a  minimum.  The  above  stated 
briefly  is  that: 

Direct  current  gives  the  best  light  at  high  cost. 

Alternating  current  gives  a  poorer  light  at 
lower  cost. 

With  the  introduction  of  the  mercury  arc  rec- 
tifier it  is  possible  to  obtain  direct  current  from 
alternating  at  a  low  cost  because  the  regulation 
is  obtained  from  the  alternating  side  of  the  recti- 
fier while  the  current  supplied  to  the  arc  comes 
from  the  direct  current  side.  The  mercury  arc 
rectifier  is  a  unique  piece  of  apparatus. 

COMPARISON  BETWEEN  ECONOMIZERS  AND  MER- 
CURY ARC  RECTIFIERS. 

The  use  of  the  rheostat  with  the  alternating  cur- 
rent has  practically  become  obsolete  owing  to  the 
almost  prohibiting  current  waste  of  the  rheostat. 
Auto  transformers  are  frequently  used  with  alter- 
nating current,  and  it  is  found  that  it  requires  2.1 
K.W.  to  obtain  5000  C.P.  with  any  A.C.  using 
auto  transformers,  while  with  the  Mercury  Arc 
Rectifier  1.7  K.W.  is  required  to  obtain  the  same 
candle  power.  This  comparison  seems  to  be  in 
favor  of  the  Mercury  Arc  Rectifier. 

This  is  a  difference  of  4  K.W.'s  per  day  of  10 
hours,  or  $.32  per  day  at  $.08  per  K.W. 

The  above  is  figured  on  a  basis  of  5,000  candle 
power.  It  is  a  well-known  fact  that  frequently 

30 


5,ooo  candle  power  gives  insufficient  light  for  some 
theatres.  It  is  often  necessary  to  have  7,000  or 
8,000  candle  power.  In  such  cases  the  saving  by 
the  use  of  the  Mercury  Arc  Rectifier  is  considera- 
bly greater.  As  compared  with  the  rheostat  (di- 
rect current)  in  this  case  the  saving  of  current 
would  be  about  one-third,  and  the  result  obtained 
much  more  satisfactory. 

THE  ARC  AND  CARBONS. 

A  larger  current  is  required  with  alternating 
than  with  direct  current.  With  direct  current  35 
to  40  amperes  are  common,  while  with  alternat- 
ing current  50  to  60  amperes  are  common. 

Cored  carbons  are  required  with  alternating  cur- 
rent, as  they  produce  the  proper  arc,  while  the 
solid  carbon  is  generally  used  with  the  direct  cur- 
rent. However,  it  will  be  found  that  the  use  of 
cored  carbons  with  direct  current  is  much  easier 
and  simpler,  requiring  less  skill  on  the  part  of  the 
operator  than  the  solid  carbons.  The  cost  of  cored 
carbons,  though,  is  somewhat  greater  than  the 
solid.  A  better  light  results  from  cored  carbons, 
but  they  consume  faster. 

Eighty  per  cent.  (80%)  of  the  light  issues 
from  the  top  (positive)  carbon  when  direct 
current  is  used,  therefore  the  carbons  must  be 
so  set  that  the  crater,  at  the  tip  of  the 
upper  carbon,  is  as  fully  exposed  to  the  condensers 
as  possible.  This  is  to  obtain  all  the  light  possi- 
ble. When  alternating  current  is  used  both  the 
upper  and  lower  carbons  give  off  the  same  amount 
of  light,  therefore  neither  is  to  be  favored  in  ad- 
justment. 

Successful  results  in  projection  depend  largely 
upon  the  correct  adjustment  of  the  lamp,  which 

31 


must  throw  a  brilliantly  illuminated  circle  upon 
the  screen. 

THE  PRINCIPLES  OF  OPTICAL 
PROJECTION.* 

Projection  is  a  very  important  matter  and  is  not 
generally  thoroughly  understood  by  the  machine 
operator.  However,  the  average  operator  knows 
enough  about  it  to  obtain  fairly  good  results.  A 
bad  operator  can  waste  a  lot  of  current  and  also 
can  show  very  poor  pictures,  while  a  good  opera- 
tor can  economize  on  current  and  get  good  results 
as  well. 

The  projecting  machine  usually  requires  25  to 
40  amperes  at  the  arc,  of  approximately  55  volts. 
The  current  in  your  city  may  be  no  volts,  or  220 
volts,  and  may  be  alternating  or  direct.  You  will 
of  necessity,  therefore,  use  a  rheostat,  transformer, 
or  other  device  to  reduce  the  voltage  and  increase 
the  amperage  as  required.  A  rheostat  always  is 
included  with  the  projecting  machine. 

Current  economy  may  be  obtained  by  utilizing 
in  place  of  the  rheostat  one  of  the  several  devices 
for  reducing  the  voltage,  which  regulates  the  am- 
perage at  the  arc. 

With  alternating  current  economy  may  also  be 
obtained  by  this  means.  These  are  made  by  va- 
rious manufacturers  and  known  variously  as  "in- 
ductors," "economy  coils,"  etc.  The  compensarc 
is  also  used. 

It  may  be  well  to  mention  here  that  some  pic- 
tures require  fast,  or  slow,  running  as  the  case 
may  be  to  get  the  best  results,  while  some  films 
should  be  run  fast  in  some  places  and  slow  in  other 
places.  This  is  due  to  variations  in  the  photog- 

*  Courtesy  of  Bausch  &  Lomb. 

32 


raphy.  A  good  operator  will  know  how  to  gauge 
his  speed  to  obtain  the  proper  results. 

The  following  brief  review  of  the  leading  prin- 
ciples of  projection  is  designed  for  the  reader  who, 
having  no  knowledge  of  the  science  of  optics, 
wishes  to  understand  the  operation  of  projection 
apparatus. 

With  the  aid  of  the  apparatus  we  throw  or  pro- 
ject upon  a  screen  an  enlarged  image  of  a  trans- 
parent object  (a  slide  or  film). 

The  process  is  almost  the  reverse  of  ordinary 
photography.  For  example,  in  photographing  a 
scene  by  means  of  the  photographic  objective  or 
lens  we  obtain  a  reduced  image  of  that  scene  on 
the  ground  glass.  This  glass  is  replaced  by  the 
sensitized  plate  and  by  the  use  of  chemicals  the 
image  is  fixed  thereon.  Now  in  projection  we  re- 
verse this  process.  From  the  picture  made  with 
the  lens  we  make  a  transparent  slide,  or  we  use 
the  film  negatives,  and  by  means  of  a  condensed 
light  we  strongly  illuminate  these,  and  with  an  ob- 
jective lens  an  enlarged  image  is  projected  upon 
the  screen,  and  this  screen  image  corresponds  with 
the  real  objects  first  photographed. 

From  this  illustration  it  will  be  seen  that  the 
first  essential  in  projection  work  is  the  lens  or  ob- 
jective. Just  as  in  photography  the  quality  and 
tone  of  the  picture  depend  to  a  very  great  extent 
upon  the  quality  and  character  of  the  lens,  so  in 
projection  the  objective  is  the  factor  which  deter- 
mines the  excellence  of  the  screen  image. 

The  condensing  lenses  must  be  of  a  diameter 
slightly  greater  than  the  diagonal  of  the  slide  or 
film  in  use.  The  size  most  commonly  used  is  4% 
inches  in  diameter. 

As  the  condensing  lenses  are  in  close  proximity 
to  the  arc  or  other  source  of  light,  they  are,  of 

33 


course,  subjected  to  considerable  heat  and  will  ex- 
pand and  contract  accordingly  as  they  are  heated 
or  cooled.  Some  arrangement  is,  therefore,  made 
for  this  expansion  and  contraction  so  that  it  will 
be  as  even  as  possible  in  the  ventilated  mount, 
which  provides  for  the  circulation  of  air  and  en- 
sures the  even  expansion  and  contraction  of  the 
condensers. 

The  optical  principle  of  projection  for  both  lan- 
tern slide  and  moving  picture  apparatus  will,  per- 
haps, be  more  readily  understood  from  the  dia- 
gram following: 


Diagram  Showing  the  Principles  of  Optical  Projection 

At  E  is  an  electric  light  or  other  suitable  illu- 
minant  the  light  from  which  is  caught  up  by  the 
condensing  lenses  or  condenser  C;  this  condenser 
is  an  arrangement  of  lenses  so  constructed  as  first- 
ly, to  gather  up  as  great  a  volume  of  light  as  pos- 
sible, and  secondly,  to  concentrate  the  light  which 
it  gathers  at  the  center  or  diaphragm  plane  of  the 
objective  when  the  objective  is  located  at  the 
proper  distance  from  the  slide  or  film,  which  dis- 
tance is  determined  by  the  focal  length  of  the  ob- 
jective. 

The  slide  or  film  should  be  placed  at  such  a 
point  that  the  entire  area  of  the  opening  is  fully 
illuminated,  and  it  should  also  be  placed  so  that  the 
greatest  number  of  light  rays  possible  should  pass 
through  it.  Taking  into  consideration  the  fact 

34 


that  the  opening  in  the  mat  in  the  lantern  slide  is 
2%  x  3  inches  and  in  the  motion  picture  film  is 
11/16  x  15/16  inches,  it  will  at  once  be  evident 
that  the  slide  must  be  placed  at  the  point  D  in  the 
diagram  in  order  that  its  entire  area  be  covered, 
and  the  motion  picture  film  must  be  located  at  the 
point  F  in  order  that  it  may  take  in  the  greatest 
number  of  light  rays. 

Proceeding  from  the  slide  the  light  passes 
through  the  objective  O,  where  the  rays  cross  and 
the  object  is  hence  reversed,  and  by  means  of  the 
objective  the  object  is  imaged  or  delineated  upon 
the  screen  S.  The  degree  of  sharpness  and  flat- 
ness of  the  image  depends  upon  the  optical  correc- 
tions of  the  lens. 

The  relative  positions  of  the  arc,  condenser,  and 
objective  must  be  such  that  an  image  of  the  light 
source  will  be  formed  at  the  diaphragm  of  the 
objective.  All  the  light  coming  from  the  con- 
denser is  then  utilized  and  the  image  on  the  screen 
is  at  its  brightest. 

Oftentimes  lantern  slides  and  films  are  to  be 
used  interchangeably,  and  aproximately  the  same 
sized  image  is  desired  with  both.  It  is  possible  to 
match  the  size  of  the  images  in  one  dimension  only 
(either  width  or  height)  as  the  two  openings  are 
not  proportionate  in  size. 

It  is  necessary,  therefore,  in  ordering  to  specify 
whether  the  images  are  to  be  the  same  height  or 
width. 

THE  SELECTION  OF  A  LENS. 

The  most  important  consideration  in  projection 
work  is  the  lens,  for  on  its  selection  depend  the 
quality  and  size  of  the  image  on  the  screen.  Not 
the  lens  mounting,  nor  even  the  diameter  of  the 
lens  itself,  but  its  equivalent  focus  and  distance 

35 


from  the  screen,  determine  the  size  of  the  image. 

At  a  given  distance  the  greater  the  focal  length 
the  smaller  will  be  the  image.  Shorter  focus  lenses, 
therefore,  will  give  large  images.  Do  not  make 
the  mistake  of  selecting  lenses  of  such  short  focus 
that  the  magnification  will  be  so  great  that  when 
the  observer  is  near  the  screen  much  of  the  defi- 
nition and  perspective  will  be  sacrificed. 

Brilliant  pictures  of  medium  size  are  far  more 
satisfactory. 

The  projection  distance  must  be  measured  from 
the  film  or  slide  to  the  screen. 

FOCAL  LENGTH  OF  LENS. 

The  focal  length  of  a  lens  is  the  distance  from 
the  film,  or  slide,  to  a  point  midway  between  the 
two  lenses  that  comprise  the  objective  (projection) 
lens,  when  it  is  in  proper  focus.  In  some  lens 
tubes  the  two  lenses  are  set  in  the  extreme  ends  of 
the  tube,  therefore  the  focal  point  would  be  the  cen- 
ter of  the  tube,  but  in  most  motion  picture  lenses 
the  tube  extends  two  or  three  inches  beyond  one  of 
the  lenses,  hence  care  will  have  to  be  used  in  locat- 
ing the  center  point  between  the  two  lenses  for  cal- 
culation purposes. 

In  determining  upon  the  proper  stereo,  lens  and 
the  proper  motion  picture  lens  to  use  together  on 
the  same  machine,  it  will  be  found  that  if  the 
same  width  picture  is  desired  in  both  instances 
that  the  focal  length  of  the  stereo,  lens  is  three 
and  one-fifth  times  the  focal  length  of  the  motion 
picture  lens,  provided  the  film  window  is  15/16  of 
an  inch  wide  and  the  slide  opening  3  inches.  If, 
however,  the  height  of  the  picture  is  considered, 
the  difference  will  be  three  and  two-thirds  times, 
where  the  measurements  are  %  inch  for  the  film 
windows  and  2%  inches  for  the  slide  opening. 


The  focal  length  of  the  projection  (objective) 
lens  is  determined  by  the  length  of  throw  ( distance 
from  film  to  screen)  and  the  size  of  projected  pic- 
ture desired.  If  these  measurements  are  furnished 
with  your  order  for  the  machine,  the  correct  lens 
will  be  supplied.  The  focal  length  of  all  lenses 
with  which  Motion  Picture  machines  are  equipped 
are  adjustable  by  turning  a  knob,  and  may  be  used 
for  slightly  difterent  distances. 

Usually  in  ordering  a  projecting  machine  these 
figures  are  given  with  the  order  and  proper  lens 
equipment  is  supplied  with  the  machine.  Some- 
times, however,  a  second  hand  machine  may  be 
purchased  or  a  machine  will  be  removed  from  one 
theatre  to  another;  this  necessitates  a  change  of 
lenses.  The  following  table  will  be  found  useful 
in  such  cases. 

An  easy  and  sure  way  for  a  layman  to  ascertain 
the  focal  length  of  a  lens  is  to  place  it  in  a  camera 
and  focus  upon  any  small  object  of  known  dimen- 
sions. When  the  image  on  the  ground  glass  of 
the  camera  is  the  exact  size  of  the  object  focused 
then  the  focal  length  of  the  lens  is  one-fourth  of 
the  distance  from  the  object  to  the  ground  glass 
image.  If  your  lens  is  found  to  be  too  long  or  too 
short  in  focal  length,  exchange  it. 

The  tables  following  show  the  size  of  image 
obtained  with  lenses  of  different  focal  lengths  at 
varying  distances. 


37 


TABLE    SHOWING    SIZE    OF    SCREEN    IMAGE    WHEN 
MOVING  PICTURE  FILMS  ARE  PROJECTED. 

Size  of  Mat  opening,  11/16  x  15/16  inch. 


Equiv. 
focus 
Inches 

25 
ft. 

30   35   40   45   50   60   70   80   90  100 
ft.   ft.   ft.   ft.   ft.   ft.  ft.   ft.   ft.   ft. 

2%.... 

8.0 

9.6  11.3  12.9  14.5  16.1 

11.0 

13.2  15.4  17.6  19.8  22.0 

*%.;.'. 

6.8 

8.2  9.6  10.9  12.3  13.7  16.4 

9.3 

11.2  13.1  14.9  16.8  18.7  22.4 

3  .... 

5.7 

6.8  8.0  9.1  10.3  11.4  13.7  16.0 

7.7 

9.3  10.9  12.4  14.0  15.6  18.7  21.8 

31/2.... 

4.9 

5.8  6.8  7.8  8.8  9.8  11.7  13.7  15.7 

6.6 

8.0  9.3  10.6  12.0  13.3  16.0  18.7  21.4 

4  .... 

4.2 

5.1  6.0  6.8  7.7  8.5  10.3  12.0  13.7  15.4 

5.8 

7.0  8.1  9.3  10.5  11.6  14.0  16.3  18.7  21.0 

4%.... 

4.5  5.3  6.2  6.8  7.7  9.1  10.6  12.2  13.7  15.4 

6.2  7.2  8.4  9.3  10.5  12.4  14.5  16.6  18.7  21.0 

5  .... 

4.8  5.4  6.1  6.8  8.2  9.6  10.9  12.3  13.7 

6.5  7.4  8.4  9.3  11.2  13.0  14.9  16.8  18.7 

51/2.... 

4.3  4.9  5.6  6.2  7.4  8.7  9.9  11.2  12.4 

5.9  6.7  7.6  8.4  10.2  11.9  13.6  15.3  17.0 

6  

4.5  5.1  5.7  6.8  8.0  9.1  10.3  11.4 

6.2  7.0  7.7  9.3  10.9  12.4  14.0  15.6 

6V2.... 

4.7  5.2  6.3  7.3  8.4  9.6  10.6 

6.4  7.1  8.6  10.0  11.4  13.0  14.5 

7  .... 

4.4  4.9  5.8  6.8  7.8  8.8  9.8 

6.0  6.6  8.0  9.3  10.6  12.0  13.3 

7'/2.... 

4.5  5.4  6.4  7.3  8.2  9.1 

6.2  7.4  8.7  10.0  11.2  12.3 

8  .... 

5.1  6.0  6.8  7.7  8.5 

7.0  8.1  9.3  10.5  11.6 

Example:  With  a  lens  of  S1^  inch  focus  at  a  distance  of 
35  ft.  the  screen  image  will  be  4.3  x  5.9;  at  40  ft.,  4.9  x  6.7; 
at  45  ft.,  5.6  x  7.6,  etc. 


38 


TABLE    SHOWING    SIZE    OF    SCREEN    IMAGE    WHEN 
LANTERN-SLIDES  ARE  PROJECTED. 

Size  of  Mat  opening,  2%  x  3  inches. 


Equiv. 
focus 
Inches 

25 
ft. 

30 
ft. 

35 

ft. 

40 
ft. 

45 

ft. 

50 
ft. 

60 
ft. 

70 
ft. 

80 
ft. 

90 
ft. 

100 
ft. 

5  .... 

13.5 

16.3 

19.0 

14.8 

17.8 

20.8 

6%.... 

12.3 

14.8 

17.3 

19.8 

13.4 

16.1 

18.8 

21.6 

6  .... 

11.2 

13.5 

15.8 

18.1 

20.4 

12.3 

14.8 

17.3 

19.8 

22.3 

6%.... 

10.4 

12.5 

14.6 

16.7 

18.8 

11.3 

13.6 

15.9 

18.2 

20.5 

7  .... 

9.6 

11.6 

13.5 

15.5 

17.5 

19.4 

10.5 

12.6 

14.8 

16.9 

19.0 

21.2 

7i£.  ... 

8.9 

10.8 

12.6 

14.4 

16.3 

18.1 

9.8 

11.8 

13.8 

15.8 

17.8 

19.8 

8  .... 

8.4 

10.1 

11.8 

13.5 

15.2 

17.0 

20.4 

9.1 

11.0 

12.9 

14.8 

16.6 

18.5 

22.3 

gfc.... 

7.9 

9.5 

11.1 

12.7 

14.3 

16.0 

19.2 

8.6 

10.3 

12.1 

13.9 

15.6 

17.4 

20.9 

9  .... 

7.4 

8.9 

10.5 

12.0 

13.5 

15.1 

18.1 

21.1 

8.1 

9.8 

11.4 

13.1 

14.8 

16.4 

19.8 

23.1 

9%.... 

7.0 

8.5 

9.9 

11.4 

12.8 

14.2 

17.1 

20.0 

7.6 

9.2 

10.8 

12.4 

14.0 

15.5 

18.7 

21.9 

10 

6.6 

8.0 

9.4 

10.8 

12.2 

13.5 

16.3 

19.0 

21.8 

7.3 

8.8 

10.3 

11.8 

13.3 

14.8 

17.8 

20.8 

23.8 

12 

5.5 

6.6 

7.8 

8.9 

10.1 

11.2 

13.5 

15.8 

18.1 

20.4 

6.0 

7.3 

8.5 

9.8 

11.0 

12.3 

14.8 

17.3 

19.8 

22.3 

14 

5.6 

6.6 

7.6 

8.6 

9.6 

11.6 

13.5 

15.5 

17.5 

19.4 

6.2 

7.3 

8.3 

9.4 

10.5 

12.6 

14.8 

16.9 

19.0 

21.2 

16 

5.8 

6.6 

7.5 

8.4 

10.1 

11.8 

13.5 

15.2 

17.0 

6.3 

7.3 

8.2 

9.1 

11.0 

12.9 

14.8 

16.6 

18.5 

18 

5.1 

5.9 

6.6 

7.4 

8.9 

10.5 

12.0 

13.5 

15.1 

5.6 

6.4 

7.3 

8.1 

9.8 

11.4 

13.1 

14.8 

16.4 

20 

5.3 

6.0 

6.6 

8.0 

9.4 

10.8 

12.2 

13.5 

5^8 

e!s 

7^3 

S.S 

10^3 

1L8 

13^3 

14.8 

22  

5.4 

6.0 

7.3 

8.5 

9.8 

11.0 

12.3 

5.9 

6.6 

7.9 

9.3 

10.7 

12.0 

13.4 

24  

5.5 

6.6 

7.8 

8.9 

10.1 

11.2 

6.0 

7.3 

8.5 

9.8 

11.0 

12.3 

Example:  With  a  lens  of  10-inch  focus  at  a  distance  of 
20  ft.  the  screen  image  will  be  5.3  x  5.8;  at  25  ft.,  6.6  x  7.3; 
at  30  ft,  8.0  x  8.8;  at  50  ft.,  13.5  x  14.8,  etc. 


39 


CONDENSING  LENSES. 

Condensers  are  liable  to  crack  from  the  heat 
any  minute  and  sometimes  fall  apart.  Sometimes 
a  cracked  lens  will  not  show  the  crack  on  the  screen, 
especially  the  back  condenser.  Should  your  con- 
denser crack  and  the  crack  not  appear  on  the 
screen,  then  retain  it  in  use,  for  it  will  not  crack 
a  second  time  and  therefore  will  save  you  the  an- 
noyance of  suddenly  breaking  and  spoiling  a  pic- 
ture, which  a  new  condenser  in  its  place  might  do 
at  any  time. 

A  short  focal  length  back  condenser  is  more 
likely  to  crack  than  a  longer  focal  length  one,  for 
the  reason  that  the  arc  is  brought  closer  to  the 
short  focal  length  lens  than  it  is  to  a  long  focal 
length  lens.  At  the  same  time  a  short  focal  length 
lens  gives  a  brighter  picture. 

To  decide  what  focal  length  to  use  to  the  best 
advantage  is  largely  a  matter  of  experiment,  the 
following  factors  being  considered:  Breakage  if 
too  close  to  the  arc;  heat  given  out  from  arc  (this 
varies  with  amount  of  current  consumed)  ;  bril- 
liance of  picture;  experience  of  operator  (more 
skill  and  attention  being  required  with  short  focus 
lens). 

The  focal  length  of  front  and  back  lens  usually 
vary  very  little,  the  front  lens  being  the  longer, 
however,  should  there  be  a  variance. 

The  usual  focal  length  of  the  back  condenser  is 
5%  or  6  inches.  That  of  the  front  condenser  is 
usually  the  same  or  a  little  longer.  If  the  focal 
length  is  shorter  the  breakage  will  be  greater.  If 
it  is  longer  the  picture  will  be  less  brilliant. 

An  operator  should  always  remember  that  the 
condensers  are  a  complement  to  the  objective  (pro- 
jection) lens,  and  vice  versa,  that  the  projection 
lens  is  a  complement  to  the  condensers.  Each  is 

40 


dependent  upon  the  other  for  perfect  projection. 
To  be  matched  properly  the  rays  of  light  must 
focus  at  the  focal  center  of  the  projection  lens 
when  in  focus  on  the  screen.  The  short  focus  lens 
is  thicker  than  a  long  focus  one. 

A  TEST  FOR  CONDENSERS. 

All  condensers  should  be  tried  out  before  using, 
as  sometimes  they  are  seconds,  or  made  of  cheap, 
inferior  material. 

Trace  a  figure  of  some  kind  on  a  small  piece  of 
tissue  paper — a  cigarette  paper  will  do.  Moisten 
and  stick  this  on  the  flat  side  of  the  back  con- 
denser (with  the  lines  next  to  the  glass),  then 
focus  this  onto  the  screen.  If  it  is  sharp  and  clear 
the  condensers  are  all  right.  If  blurred  in  some 
places  the  condensers  are  lacking  in  quality. 


PROJECTION    OF    LANTERN    SLIDES 

WITH  SAVING  OF  CURRENT  AND 

LESS  BREAKAGE. 

It  is  found  profitable  to  install  two  rheostats 
(direct  current)  so  wired  that  one  may  be  used 
when  a  motion  picture  is  being  projected  upon  the 
screen  and  both  when  an  announcement  or  song 
slide  is  being  projected.  This  will  cut  the  current 
about  one-half,  as  it  is  not  necessary  to  have  as 
intense  light  for  stereopticon  work  as  for  motion 
picture  work. 

This  is  done  by  the  installation  of  a  shunting  or 
short  circuiting  switch  which  will  control  the  sec- 
ond rheostat,  allowing  the  current  to  pass  through 
it  if  the  stereopticon  light  is  desired,  and  to  pass 
around  it,  using  only  one  rheostat,  while  the  mo- 
tion picture  is  being  projected. 

41 


BOOTHS. 

In  practically  every  State  the  law  requires  that 
the  projecting  machine  be  enclosed  in  a  fireproof 
booth. 

The  highly  inflammable  celluloid  film  used  in 
moving  picture  machines  is  a  source  of  great  dan- 
ger from  fire.  Fire  insurance  companies  accord- 
ingly not  only  make  high  rates  on  buildings  in 
which  these  machines  are  used,  but  in  some  sec- 
tions actually  prohibit  their  use  except  when  en- 
closed in  a  fireproof  booth. 


Permanent  Asbestos  Booth  for 
Two  Machines. 

In  spite  of  all  precautions  and  safety  appli- 
ances, these  inflammable  films  are  in  constant  dan- 
ger of  becoming  ignited  by  the  intense  hot  rays  of 
the  projecting  lamp,  or  hot  rheostat.  And  this 
risk  is  greatly  increased  by  carelessness  in  the  use 
of  cigars,  matches,  etc.,  in  the  vicinity  of  exposed 
films. 

A  burning  film  is  practically  unquenchable  by 
water  or  by  any  known  chemicals.  The  fire  is 

42 


apart  with  more  difficulty  and  requires  as  much 
labor  to  put  it  together  again  as  was  necessary  in 
the  first  place. 

The  permanent  and  semi-portable  booths  are 
furnished  regularly  in  the  following  sizes : 

For  one  machine,  6  ft.  wide  x  8  ft.  deep  x  7 
ft.  high. 

For  two  machines,  9  ft.  wide  x  8  ft.  deep  x  7 
ft.  high. 

The  asbestos  booth  costs  about  $125.  The  wire 
connection  must  of  course  be  looked  after  by  an 
efficient  electrician,  as  a  strong  current  is  used  for 
the  projection  machine  which  necessitates  a  No.  6 
or  No.  8  cable. 

SCREEN. 

About  the  best  and  most  economical  screen 
that  can  be  used  is  a  plain  white  plastered  wall, 
calsomined.  Canvas  screens  coated  with  alum- 
inum paint,  or  with  one  of  several  other  prepa- 
rations on  the  market,  are  also  much  used. 

Over  a  white  wall  a  sheet  of  thin  muslin  may 
be  stretched.  Have  as  few  and  small  seams  as 
possible.  Seams  should  run  horizontally.  It  is 
possible  to  obtain  muslin  8  feet  wide  for  this 
purpose. 

There  are  several  patented  screens  on  the  mar- 
ket, all  costing  good  money,  yet  not  seeming  to 
do  very  much  good  for  the  exhibitor  unless  he 
has  close  competition  and  wants  something  spe- 
cial to  advertise.  The  best  of  these  seem  to  be 
the  "concaved"  screen  and  the  "mirror"  screen. 
The  latter  can  sometimes  be  used  to  advantage 
in  a  long,  deep,  narrow  house  where  no  one  will 
view  it  from  the  side.  The  mirror  screen  is  a 
large  mirror  ground  on  its  face,  and  exhibits  a 
brilliant  picture  straight  ahead,  but  from  a  wide 

45 


angle  the  picture  appears  dim,  or  cloudy.  Hence 
its  best  results  in  a  long,  narrow  house.  The 
concaved  screen  brings  out  the  detail  of  the  edges 
of  the  picture  very  much  more  plainly  than  the 
ordinary  flat  screen  and  is  not  a  bad  idea.  It  is, 
as  its  name  implies,  concaved. 

APPROXIMATE  ESTIMATE  OF  OPERATING  A  SMALL 
MOVING  PICTURE  THEATRE  PER  WEEK. 

Service  (film) .  .$25.00  to  $40.00  $50.00  $60.00  to  $75.00 

Posters 1.00  1.00          1.00 

Operator   15.00  18.00  21.00  to    24.00 

Ticket  seller...  6.00  6.00          6.00 

Doorman 8.00  9.00  10.00 

Pianist   12.00  15.00  18.00 

Light  &  power.  20.00  25.00  30.00 

Extras  5.00  7.50  10.00 

Heat   5.00  7.50          7.50 

Janitor   9.00  9.00  10.00 

$106.00       $121.00     $147.00     $173.00       $188.50 
Rent   

RECEIPTS  AND  EXPENSES. 
(From  a  Going  Theatre.) 

Rent  $40.00        Singer $18.00 

Films   (3) 50.00        License 4.00 

Pianist    15.00        Operator  18.00 

Violinist 10.00        Porter 4.00 

Doorman  5.00        Drummer 12.00 

Usher 3.00        Miscellaneous 10.00 

Current   18.00        Slides    2.00 

Ticket   Seller 5.00 

Total    $214.00 

Seating  capacity,  300. 

Seating  capacity,  300.  Receipts  average  $40.00  per 
night  (4  performances  only),  and  $100  Sundays  (9  per- 
formances). 


Do  not  overlook  the  following  pages,  for  much 
information  of  value  will  be  found  therein* 


Motion  Picture  Machine 

In  the  Simplex  Projector  is  found  material,  workman- 
ship, new  and  original  features  and  fireproof  qualities 
heretofore  unheard  of  in  motion  picture  machine  con- 
struction. The  projection  is  perfect.  The  wearing 
qualities  are  way  ahead  of  anything  else  in  its  line. 


Write  us  to-day  for   full  information  and    prices.     Not   how 
cheap  but  how  good  is  our  policy. 

Made  by 

PRECISION    MACHINE   CO. 

317  East  34th  Street,  New  York 


Kindly  mention  this  book  when  writing  advertiser. 


POWER'S  CAMERAQRAPH  No.  6A 

PROCLAIMED   BY  THE   PUBLIC 

The  Modern  Motion  Picture  Machine 

Your  theatre,  to  be  a  success,  must  possess  the  most  modern  and  up-to- 
date  equipments.  Only  the  best  will  bring  you  return  business  and  prosperity. 

Power's  Cameragraph  superiority  has  been  recognized  by  the  public  tor 
fifteen  years.  It  is  installed  in  nearly  all  the  first-class  houses  in  the  world, 
and  lias  made  friends  and  kept  them  wherever  civilization  rules.  A  few  of 
Power's  good  points  are: 


ARC   LAMP 

Will  carry  100 
amp.,  take  car- 
bon %"  in  diam- 
eter, 6"  lower, 
12"  upper. 

LAMP  HOUSE 

Larger,  more  ac- 
cessible, door 
each  side  and 
better  venti- 
lated. 


STAND 

Made  entirely  of 
iron.  Lower 
magazine  built 
in  to  carry  14" 
reel. 


PROJECTION 

POWER'S  has 
brought  this  to 
absolute  perfec- 
tion. Pictures 
clear,  steady, 
without  flicker. 


AUTOMATIC 
LOOP  SETTER 

This  device  (cost- 
ing only  $10.00  ad- 
ditional) resets 
the  lower  loop  au- 
tomatically with- 
out stopping,  thus 
doing  away  with 
the  dark  screen 
and  interrupted 
pictures. 


These  points  explain,  in  a  measure,  why  more  Power's  Cameragrap^s 
are  sold  than  all  other  machines  combined.  It  will  put  the  S.  R.  O.  out  in 
front  and  keep  it  there. 

Let  us  send  you  Catalogue  P  giving  full  details. 

NICHOLAS  POWER  COMPANY 

90  GOLD  STREET,   NEW  YORK 
For  fifteen  years  the  leading  makers  of  Motion    Picture    Machines. 

Kindly  mention  this  book  when  -writing  advertisers. 


Don't  Spoil  the  Reels 

In  establishing  and  maintaining  a  successful  picture  theatre,  too  much 
emphasis  cannot  be  laid  upon  the  projecting  machine.  You  may  have  the 
finest  possible  location  and  the  best  reels  on  the  market,  but  if  your 
machine  does  not  project  steadily  and  clearly,  you  are  bound  to  fail. 
There  must  be  no  nerve-racking  flickers  and  no  long  waits  for  repairs. 
Picture  fans  know  what  kind  of  service  they  are  entitled  to  expect,  and 
if  they  cannot  get  it  at  your  theatre  they  will  get  it  in  some  other. 


The  Edison  Kinetoscope 

UNDERWRITERS'  TYPE  "B" 

Is  the  only  machine  that  will  give  absolutely  satisfactory  service  with 
a  minimum  of   repair  cost.     It  is  the   only   machine   equipped   ivith 

hardened  steel  shafts  and  bear- 
ings throughout.  All  other  parts 
are  made  from  materials  that 
have  been  thoroughly  tested. 
Every  feature  of  the  Edison  is 
the  result  of  long  and  careful 
experimentation.  The  Edison 
combines  simplicity  with  the 
greatest  strength  and  durability, 
and  it  will  stand  the  long,  hard 
daily  grind  as  no  other  machine 
can. 

A  large  percentage  of  Edi- 
son Kinetoscopes  are  sold  to 
exhibitors  who  have  been  dis- 
satisfied with  other  machines. 
If  you  want  the  biggest  profit 
on  your  investment,  start  right 
from  the  very  beginning  by  get- 
ting the  Edison. 


Price,  with  Rheostat,  110  volts,  24-40  amperes     -     S225.0O 
Price,  with  110  volt,  60  cycle  Transformer-     -     -     $245.00 

Write  to-day  for  Catalog  500  and  a  copy  of  the  Edison  Kinetogram 

THOMAS  A.  EDISON,  Inc.,          281  Lakeside  Ave.,  Orange,  N.J. 

Kindly  mention  this  book  when  writing  advertisers. 


J-M  Transite  Asbestos  Wood  Booths 

Approved  by  Fire  Underwriters 

All  types  of  J-M  Transite  Asbestos  Wood  Booths  conform  to  the  require- 
ments of  the  fire  insurance  authorities  and  local  ordinances.     They  have  been 
approved  by  the  inspection  departments  of   many 
states    and   cities    and    by    the    National    Board    of 
Fire  Underwriters.     Composed  of  that  indestructi- 
ble   fibrous    mineral — Asbestos — and     fireproof     ce- 
ments, these  booths  are  absolutely  fireproof.     And 
water  will  not  cause  them  to  warp,  shrink  or  dis- 
integrate. 

J-M  Booths  are  made  in  three  styles:  Portable 
Semi-Portable,  and  Permanent.  We  also  make 
booths  in  special  sizes  or  styles  to  order,  and  can 
deliver  promptly. 

Write  our  nearest  branch  for  J-M  Theatre  Neces- 
sities booklet. 


#s^  -~ 

m 


H.  W.  JOHNS-MANVILLE  CO. 


Manufacturers  of  Asbestos 
and  Magnesia  Products 


Albany 
Baltimore 
Boston 
Buffalo 


Chicago 
Cincinnati 
Cleveland 
Dallas 


Asbestos  Roofings,  Packings, 
Electrical  Supplies,  Etc. 

MARK 

Detroit  Louisville        New  York       San  Francisco 

Indianapolis   Milwaukee      Omaha  Seattle 

Kansas  City    Minneapolis    Philadelphia  St.  Louis 
Los  Angeles   New  Orleans  Pittsburgh      Syracuse 


THE 


is  composed  of  the  product  of  the  world's  best  makers,  consisting  of  one, 
two  and  three-reel  subjects,  furnishing  exhibitors  with 

A  FEATURE  PROGRAM  EVERY  DAY 

The  largest  theatres  in  America  are  using  this  film  service,  names  and 
addresses  of  which  will  be  sent  upon  application. 

More  attendance  records  have  been  broken  with  Mutual  Films  than 
with  any  other  program  in  the  world. 

The  releases  are  nicely  balanced,  consisting  of  high  class  dramatic 
productions,  sensational  western  and  historical-military  films  and  comedies. 

Mutual  Exchanges  cover  the  entire  country.  For  the  address  of  the 
nearest  to  you  write  to  the  main  offices  of  the 

MUTUAL   FILM    CORPORATION 

60  Wall  Street,  New  York  City 

Kindly  mention  this  book  when  writing  advertisers. 


Oldest,  Largest  and  most  widely  cir- 
culated Moving  Picture  Weekly 

Founded  by  J.  P.  CHALMERS 


YEARLY  SUBSCRIPTIONS. 
Domestic  $3.00 


17  Madison  Ave.,  New  York  City 


All  the  news  of  every  branch  of  the  film 
manufacturing  and  exhibiting  industry 

The  Representative  Moving  Picture  Paper 


Kindly  mention  this  book  when  writing  advertisers. 


READ  THIS  CAREFULLY. 


If  you  are  interested  in  engaging  in  the  moving  picture 

theatre   busmess,   and   will   fill   In   the   blanks   below  and 

ma,     to   me   at   1465    Broadway,   New    York,   it   will   very 

y  result  to  your  advantage,  as  I  will  probably  be  able 

to  put  you  in  touch  with  the  information  you  desire 

t  theatres  through°ut  th 


JAMES   F.   HODGES. 


Do  you  desire  an  established  theatre?. 


Do  you  desire  to  open  a  new  theatre? 
Approximate  amount  of  investment  considered  '  for 


same 


I  bother  of  going  it  alone, 
ate   below  approximately  the   amount   you   might   be 
mclmed  to  invest  in  such  a  plan  properly  inaugu'ted. 

in  no  way  obligates  you  in  any  expense  whatever. 

Amount  of  possible  investment  $.. 


Name   

Address   

Present    business, 


OVER. 
(Tear  out  this  page  and  mail.) 


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